AUDITIONING IN THE UK

Are You Interested In Auditioning For A Casting Agency Whilst In The UK?

If you are registered to receive our monthly email newsletters, you may have seen several casting agencies advertising for Americans living in the UK to audition for various adverts, films and television shows, so if this is something that interests you, here are some tips from one of our avid readers, Nicola Peluso, an actress, and fellow American living in the UK.

Firstly, can you tell us a little bit about your background, and what brought you to the UK?

I am a Californian girl, born in Santa Monica. I began acting professionally in LA at the very young age of four with the Nina Blanchard agency. I have worked professionally as a model and actor in Los Angeles, Milan, and New York. My partner is British, and we first met on set of his rock band’s video shoot in New York and relocated to the UK in 2015 for family life. I currently work as a professional actor in London and have been fortunate to work across the industry in film, television, stage, voice and games. I have also written and produced my own film which screened at several international film festivals. Some of my current work includes ‘Marvel’s ‘Ant-Man and the Wasp; Quantumania’, video games Sherlock Holmes; The Awakened and Robo-Cop; Rogue City and I am the official voice of Ford Motors UK and Europe.

What can our readers expect if they go for an audition?

A myriad of things can be expected of you in an audition. A common request on a first audition is for a Self-Tape. The expectation is for you to record your performance of the ‘sides’ (script) and any noted physical instructions with a ‘reader ‘(someone off camera reading the dialogue of the other character) and send it over to casting. You should choose a quiet environment in which to record. You should have a well lit, blank wall/backdrop, and the recording should have clean clear sound. Most actors use their iPhones, but you can opt for more professional equipment if need be.

The CDG (Casting Directors Guild) has a great ‘Guide to Self-Taping’ which can be found on their website.

You will be given some additional time to get off book, maybe 10 minutes and will then read for the additional characters agent. They may request further details such as height, location, availability and any scheduling conflicts. You will then work on the material with the casting director, director or casting assistant. If your scene has dialogue they will ‘read in’ for you. You may potentially be asked to audition for additional characters on the day, once in the room, something that has happened to me on more than one occasion. You will be given some additional time to get off book, maybe 10 minutes and will then read for the additional characters.

What advice can you give readers with regards to their audition?

If going to an audition in person, prepare the sides that you will be sent by the casting director beforehand. This means that you should be ‘off-book’, having memorised the dialogue for your scene. Occasionally, there won’t be anything to prepare in advance, and you will receive the script at the audition and may be given instructions as to improvise an action or scenario in the audition room. Always dress as the character would, arrive no more than 10 minutes before your scheduled audition time and be comfortable with waiting. Casting directors are incredibly hard working and so respectful of talent, but sometimes auditions run over and you may have to wait past your appointment time to be seen. You may also be paired up with another performer at the audition and be expected to work together on the day. It’s best to respect the process of the other performers whilst waiting to be seen, and keep conversation, phone activity and line running to a minimum. When you are called into the room, you will be instructed on where to stand, and asked to ‘slate’ to camera. Slate means to look down the lens then state your name and

It is best to thoroughly prepare for your audition. Research the project, and have an understanding of the format, pace and tone of the piece, as well as the people affiliated with the project. Develop your character as informed by the story and text. Create a back story for your character. Know where your character is coming from, what is happening in the scene, their wants, needs, desires and motivations. Be open to receiving direction and offering adjustments to your performance and most importantly, have fun.

Have you got any funny stories from past auditions?

I love auditioning. It is always full of surprises. I think one of the most humorously unique experiences I’ve had in the audition room was for a video game at Spotlight. The director was brilliant and had a background in experimental theatre. He had called in to the audition over Zoom and surprised us in the room with a myriad of unusual props; a wool blanket soaked in a bucket of freezing water, juggling balls, dumbbells, rubber bands and other unique objects to engage with whilst performing our dialogue. It was quite a surprise for us. Wringing out a very heavy wet wool blanket over Zoom meant that things did get a bit slippery, but it was quite fun and we had a lot of laughs, though the subject matter was quite serious and high intensity.

Are there any pitfalls readers should be aware of?

If unrepresented you should be very careful about where you find casting notices. It is important to understand your rights as a performer and what can and can not be requested of you in an in-person audition, Self-Tape, or at work. I recommend looking for casting notices from reputable sources such as Spotlight, Backstage and Casting Networks, to name a few.

There are some great guidelines for conduct and professionalism in the industry to assist you on your journey as a professional performer. I recommend visiting the PMA (Personal Managers Association) and the CDG (Casting Directors Guild) websites as well as Spotlight and Equity UK, all of which have great resources for performers understanding their rights and codes of conduct within the industry. Everything from contracts, pay agreements, consent, etc. is covered.

Finding great agents who are in alignment with your values, and career goals to represent you is imperative to your development and success as a performer. I recommend agents that are members of the PMA. It can take time to find the perfect fit. But having that great team in your corner is golden.

If our readers are successful and do get offered a part, what can they expect when they start filming?

What a great question. The beauty of this medium is that every production manifests differently. From Studio productions to indy film making, TV, voice and games. There are a myriad of variables as to what you should expect. With voice, I have been booked on jobs with a little as 2 hours notice. With film I have sometimes been booked anywhere from three days up to two weeks. Other times you have more time to prepare.

You may receive the script days or weeks in advance and other times the script may come the night before the shoot.

But there are a few standard protocols. You will be sent a contract to sign which you should review thoroughly. If represented, your agents should have a firm handle on contract negotiations and industry standards, and you should feel comfortable discussing any articles you find unclear. If unrepresented, I encourage you check with an entertainment attorney and Equity UK to make sure the agreement has both you and the production’s best interest at hand, and that everything is in alignment with industry standards.

At some point you will receive the script, potentially offered a rehearsal schedule and be contacted by production to arrange; transport, wardrobe fittings, hair and makeup tests, shooting schedules and call times.

When you arrive on set (the best part) it is time to fully live in the world of the character. You will be introduced to your fellow actors and members of production then given direction by your director - and it’s time to work! There are many intricacies involved in production, so it’s great to read up on productions of all kinds to get the lay of the land. Film,TV, Voice, Games and MoCap, (motion capture), though having much in common, they are all very different mediums and have different structures and technical requirements and expectations. Learn all of the roles on set and how you can best be respectful, professional and able to self-manage at work. A film set is a beautiful collaborative ecosystem. Approach every job with an open mind and a collaborative spirit.

Do you have any final words of wisdom for our readers?

Acting is beautiful. I believe that it takes great endurance and passion to be in the industry, and it is a vocation in the truest sense of the word. It is such a wonderful profession. There is always something new to explore within yourself. I am continuously challenged by this work not only as an artist but as a human being. This great work connects us to our enduring humanity, offering us the opportunity to connect to each other, exploring the human condition and expanding through empathy. Storytelling is an ever evolving medium. There are so many exciting things happening in Film and TV, Games and Voice, and new technologies alongside re-emergence of classic techniques like 35mm. Find as many opportunities as possible to create and collaborate. There are many great resources to assist you in discovering career opportunities. Get out there and take a class or workshop, connect with others in the industry, attend film festivals and create your own work.

Helen would like to thank Nicola for taking the time to share her thoughts with you, and if you do go for an audition and are successful, please do let us know.